Bradford Paley’sCodeProfiles [1]

to anyone who gleefully espoused the value of some formative indie works, you likely never were allowed to stop for very long to interrogate what questions the themes of games like Passage or The Marriage presented, and what they may say about troubling dynamics in gendered relationships. they were more just signifiers that represented that the possibility of deeper expression was there, and should be taken seriously and given more scrutiny. but the moment you applied more scrutiny and started to ask questions about the themes in the work, that was often handwoven off as irrelevant to the point at hand (which was, again, that Videogames Have Arrived).

a single block - we own that; a Gothic Cathedral with a rollercoaster running through it - we don't own that.

WHAT IS MINECRAFT REALMS

We want to do something, but what we know how to do is make pixels move on a computer screen. Within this individualistic framework of selfhood we're simmering in, collective avenues of direct political action are obfuscated in favor of the fantasy of making a change through your work as an individual within the existing system.

All your aspirations, political or otherwise, then become externalities to retrofit into your brand - your brand is gamedev but you want to fight climate change, hence you shoehorn climate struggle into the marios.

Muller brings is that idealizing metrics “works even less well in organizations in which employees areoriented to a more idealistic mission”, which is easily understandable to the context of games,themselves a mostly idealistic endeavor, intended primarily as an object of entertainment

An additional problem with Elo as a ranking system which researchers try to solve (Minka et al.;Delalleau et al.) is that it is essentially a system for one versus one matches, and it does not translate aswell for team based games

Elo is that in order toincrease your rating you not only have to get better yourself, but you have to do so faster than theaverage player, which likely only happens for the players that are really looking to improve in thegame. Therefore some games have different solutions on how to not make this completely transparentto players, and create convoluted points systems on top of the skill one to sort players ranking andincentivize players to play to increase their ranking (“Rank (League of Legends).”).

the game community alsopushes forward their own idea of what is the standard metagame

Consolegames, thus, by nature of their separation from an internet browser, had less success with the formingof player clans.

skateboarders provide a ‘lived utter-ance, a symbolic parole to the univalent langue of the city as technical object’ (Borden2001, 192). He sees that skateboarders create their own rhythms which challenge andcontradict the purpose of the city.

prompted by a simple ‘skate’ toy

Henri Lefebvre who devised the phenomenological science of Rhythmanalysis

CTRL.ALT

Attrition Abuse

social/rule

as it is instead put in a contextof being an edgy feature targeted at the demographic that isalready comfortable with and expects this

Robert Yang

sex, religion andpolitics

.

game

categories

Just like the spectators in Boal’s InvisibleTheatre see the shown without seeing it, by engaging withthe artefact of a CD, players already play the game, withoutplaying it.

Barbarosa

s

of

form

Sating

culutres

NYU’s park staf

MODEST PROPOSAL FOR A FAIR TRADEEMOTIONAL LABOR ECONOMY

Note that this is just AAA level design; AAA games as a whole are totally addicted to ornament and excessive detail

This shift in workflow is about taking the construction out of level design. Level designers used to be artists, sculptors, modelers, and carpenters -- but today, the game industry has decided that a level designer is mostly an architect who draws a blueprint and manages labor.

"level in a 3D character-based game", which is what the industry means by the word.

brick destruction game, time speedsup while the player is waiting for the ball to return froma brick’s destruction.

After initial mood-congruentresponses, we spontaneously reverse and replace thoseby mood-incongruent reactions. So, additionally to thefeedback between the outside world — including medi-ated experiences like video games — and our emotionalstate, there is a feedback loop built into our mood

concluding that juice has to be applied ad-equately to the situation

unlessthis is a conscious aesthetic choice and itself part of thegame’s mechanics.

this paper is concerned with moment-to-moment interactivity [11]–[13], microinteractions [14]and interactions with core loops [15] and their design.Unlike Swink’s precise but narrow definition of ‘GameFeel’, we will look at game feel more broadly as theaffective aspect of real-time interactivity.

The journalist and game makerTim Rogers wrote an exhaustive article [4] about whathe calls ‘friction’,